
The second volume of Avanti Classic’s “Rendez-vous with Martha Argerich” series offers performances from the 2019 Hamburg Festival featuring the legendary pianist in chamber and
There are productions of this opera in which the original lovers return to one another; some in which they switch; and lately, in our more
This enterprising series has been compromised since inception by heavy-handed, so-so interpretation from conductor Sylvain Cambreling. Petrushka is inexcusably slow and dull, especially in the
This 8-CD set contains almost all of Messiaen’s music for orchestra or large mixed ensembles. The only major pieces missing are the late (and somewhat
Putting together a series dedicated to works commissioned or staged by Diaghilev and his Ballets Russes is a great idea, promising both popular favorites as
The 15-year-old Mozart composed Lucio Silla for Milan. Set in Rome in the decades B.C., it concerns the despot Lucio Silla, his love for Giunia
Sylvain Cambreling’s acute familiarity with Debussy’s orchestral style makes for exceptionally translucent performances wherein manifold inner details emerge with unprecedented clarity, yet always within the
This somewhat comic opera was composed for Munich in 1775, when Mozart was 18. Before the opera opens, Count Belfiore and his fiancée, Marchese Violante,
What happens if the genetic codes respectively making up Schubert’s Winterreise and Kurt Weill’s Threepenny Opera become mutated into a new species? Look no further,
There are very few instances on recordings of “bad” Messiaen. His musical style is too particular and his principal interpreters were too close to him